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The 1950s represented an important period of transition in Brazilian cinema. The studio system revealed its lack of viabUity and new conceptions of film practice, production, and aesthetics emerged and were fiercely debated. The Vera Cruz Studios had been founded in 1949 in Säo Bernardo do Campo, just outside of Säo Paulo, with the objective of developing a film industry based on a Hollywood model of production and making films with a European veneer. Five years and 18 feature films later, Vera Cruz declared bankruptcy, ending a cycle that had begun in the early 1930s with the creation, in Rio de Janeiro, of the Cinédia studios and that had continued in the early 1940s with the formation of Atlántida, also in Rio de Janeiro. With the demise of Vera Cruz, the dream of creating a national film industry based on a studio model of production turned into a nightmare. Coinciding with the end of Vera Cruz were intense discussions about possible alternative models of film production and aesthetics. This is the moment when the impact of Italian neo-realism began to be felt in Brazil with the early films of Alex Viany, Nelson Pereira dos Santos, and Roberto Santos. The search for new models for Brazilian cinema would flourish in the early 1960s with the emergence of Cinema Novo. Within this context of transition, this essay wiU contrast documentary discourses of two directors, Humberto Mauro and Linduarte Noronha, who have been repeatedly identified as important precursors of Cinema Novo. More specifically, I will discuss a series of short films, known as the Brasiliana series, made by Humberto Mauro between 1945 and 1956, and Noronha's 1960 Amanda, focusing on the films' conflicting notions of national identity-a romantic, nostalgic, idylUc vision in the case of Mauro, a much more hard-nosed, critical vision in the case of Noronha-and on the relationship between their respective documentary practice and Cinema Novo. In 1925, working in the small town of Cataguases in the state of Minas Gerais, film pioneer Mauro (1897-1983) initiated what has since been called